HOLLYWOOD BEYOND Whats The Colour of Money UK 7" 45

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Hollywood Beyond achieved considerable chart success in a number of European territories as well as the UK.

You had a striking image at that point. Did you have people come up to you on the street singing the hit? I wish I’d enjoyed the moment a little bit more. At the time it frustrated me that I was promoting songs that I had written three or four years [previous]. But I travelled the world doing my thing and got to work with some of the best producers at that time – people like Bernard Edwards and Mike Thorne. I left Pyramid because I wanted to step up my game. I left with Jamie Rose, my manager, and one time we were having breakfast deciding what we were going to do and I was reading the Kenneth Anger book Hollywood Babylon, which is how I came up with the name. But the sounds come as a secondary consideration to the songs. A sneak preview of If reveals a collection of refreshing pop songs where a classical cello may find itself alongside a koto and a collection of vocal samples, but only where the song demands it, not where it makes the kind of production sense that boosts record sales. The key lies in Rogers' approach to writing. As often as not, inspiration strikes when he's away from what he refers to as his 'tools'.I'm not a dictator", he says, "but I've done time in bands and it's not for me. If you believe in what you do, people call you arrogant. But if you don't, then nobody else is going to either. I think the reason bands form is because they have secrets to keep. I've got my secrets but I'd like to share them with lots of other people. I have an album out at the moment – More More More, which is a collection of songs that I’ve done over 30 years. I also have three singles that I want to release. What has the lead singer of Hollywood Beyond been up to these past three decades? Will Simpson finds out… On another, more technical level, Rogers also has his reasons for mixing and matching producers from both sides of the Atlantic. I have a UMI system at home which is great for working on my own. With a band you can say 'OK, eight bars of this then we'll switch to this', but with the UMI I can chop my arrangements around and listen to them instead of having to imagine them. That's a very useful thing for arrangements, but it's no good plugging it in to write on and expecting it to do something itself. The most important factor in creativity is the exchange of ideas.

It's actually three people", he reveals, "There's myself, Jamie B Rose and Cliff Whyte. Cliff's an engineer who does our live work, Jamie does a lot of lyric writing with me and also helps visualising things. We're all from Birmingham and we put Hollywood Beyond together as an umbrella under which we can fulfil our ideas." The most important thing is casting a record — you have to know what feel you want and what musicians have that feel. For example, I used Bruce Smith from PiL on 'What's the Colour of Money?', and the moment I heard his snare go down I knew he was right for it. As a language object and symbolic resource, HOLLYWOOD has become ‘emblematically’ (Agha Reference Agha2006:235) associated with a set of values that facilitate its diffusion and spread into new contexts, domains, and genres. It is one of many global emblems, Footnote 3 examples of which are, among others, derived from art (e.g. the Mona Lisa), architecture (e.g. the Great Wall), and music (e.g. Vivaldi's Spring), all providing fodder for a bewildering array of interpretations, reproductions, and adaptations. Writing about perhaps the most renowned of global emblems, the Eiffel Tower, Barthes ( Reference Barthes2012:131) observes that ‘the Tower is everything man [sic] puts into it… an inimitable object that is endlessly reproduced, it is a pure sign’. At turns lauded and despised by artists, poets, and cultural critics, the Tower assumed the role of ‘modernist visual icon’ (Conley Reference Conley2010:765; also see Insausti Reference Insausti, Homem and de Fátima Lambert2006) before evolving into ‘the Esperanto of tourism’ (Freeman Reference Freeman2016:118). Whether it is interpreted as a symbol of romance or a hallmark of sophisticated cultural cachet, likenesses of the Eiffel Tower are ubiquitous motifs, adorning t-shirts, accessories, advertisements, and handheld figurines, alongside nearly to-scale monuments in cities such as Macau, Hangzhou, and Las Vegas. The proliferation of such landmarks and souvenirs are indicative of an emblem's diffuse interpretations; as Löfgren ( Reference Löfgren1999:88) writes, ‘There might be millions of tiny brass Eiffel Towers distributed over the globe, but no two of them carry the same meanings’.Another reason I wanted to keep changing producers was to avoid settling into their routines. I don't want anyone else putting their stamp on my music — I'll put my own stamp on it." When you have an idea, all you need is the ability to get that idea over. I believe everybody who loves music must be able to create music. All you need is something like this thing I'm talking into now to hum your melody line into. There are enough people out there that can play it for you — it's the ideas that are the important thing. People tend to forget that. What I really like about UMI is the sound library - it means I can have a large selection of sounds available without having to have a huge amount of equipment. I drag things in, I steal their sounds, I put them on disk and that makes life a lot easier from a writing point of view. Different sounds evoke different emotions, so the bigger your library, the greater your choice of emotions." An album for Hollywood Beyond entitled If, followed on Warner Bros. Records in 1987, produced by Bernard Edwards, Mike Thorne and Stephen Hague. Former members include Andy Welch, Steve Elliott, Dean Loren, Mike Burns, Cliff Whyte, [1] Carol Maye and Maggie Smyth. [3] Discography [ edit ] Album [ edit ] Unfortunately, you need to have successful singles so that people know you're out there and will buy your album. We were discussing all the bands during the '70s that never used to sell many singles but had huge album sales. I can't think of how people got to know about them. I think it was because there was a much bigger gig circuit then."

However, according to the animators of the HISINGEN sign (Antonsson & Hallén Reference Antonsson and Hallén2014), the high-rise Karlatornet is just another example of generic star architecture that could be built anywhere in the world. The HISINGEN sign, they argue, would ‘anchor the building in the place’. Even as HOLLYWOOD's global emblematicity might be seen to foster genericism, the lexical and semantic content of HISINGEN evidently charges the sign with a sense of place that is deeply embedded in local imaginaries. This can be seen in a feasibility study by the Municipal Board (Park och Naturförvaltningen Reference Park och Naturförvaltningen2016:3), which, negotiating the intended citational act and reflecting on its interdiscursivity, considered whether the sign might spell the city's name, ‘Göteborg’, rather than ‘Hisingen’. As HISINGEN could be perceived as ‘exclusionary’ and ‘not part of Gothenburg’, the Board maintained, erecting GÖTEBORG instead would be ‘inclusive’ and demonstrate ‘that even Hisingen is a part of Gothenburg’. Finally, the Board argued that GÖTEBORG could be part of the city's 400th centenary in 2021, and one of the economic and branding vehicles for the city. Designer Jesper Hallén disagreed, contending that GÖTEBORG would not be as ‘humorous and beautiful’ as HISINGEN. To him, the contrast between the fame of Hollywood and the rather rough image associated with Hisingen is key to the successful citation. Additionally, like Ruscha, Hallén noted the spatial qualities of the name—its ‘horizontalness’ (Braudy Reference Braudy2011:164), that is, its horizontal physical extension—and the visual similarity between HOLLYWOOD and HISINGEN, as opposed to HOLLYWOOD and GÖTEBORG. This further suggests that we need to take into account the distinction between name and lexical item, or signified and signifier: the name Hollywood travels along with the HOLLYWOOD citations both when they present other place names (e.g. NYA HOVÅS), and when they do not include a place-designating lexeme (e.g. ÄLSKA LIVET; ‘Love Life’). As Munn shows, a person's fame is the ‘product of transactional processes’ ( Reference Munn1986:107) whereby the person's name travels ‘apart from his [sic] physical presence… through the minds and speech of others’ (1986:105). Similar processes are involved in the citation of HOLLYWOOD; the fame at the core of HOLLYWOOD's meaning potential travels through the name Hollywood, but also through the sign's enregistered features. Interestingly, when the materialization of the citation excludes the place-designating lexeme from the bundling, the name Hollywood is still part of the recontextualization process: it often materializes in spatiotemporal proximity to the citation, in co-texts such as metacommentary by the media and viewers of the sign by which the citation is characterized, as in ‘Hollywoodesque’ or (in Swedish) ‘Hollywood-skylten’. What’s The Colour Of Money? was released in 1986 and reached number seven in the UK single charts but follow-up No More Tears stalled at 47. Two further singles were released ( Save Me and After Midnight) but neither troubled the charts. And that was it!The strict term one-hit-wonder means that an artist had only one hit that made number one and then no other chart action whatsoever and there’s not too many of them, 65 in fact from Kitty Kallen in 1954 right up to Rachel Platten in 2015. I haven’t included any of the four number ones of 2016, which admittedly are all debut hits, but are likely to further their careers. The ideas tend to come when I go walking or something. I like making rhythms with my feet and things like that. Especially in this final example, the citation of HOLLYWOOD is sketchy at best; one might instead argue that McDonald's is simply orienting to the myriad electric billboards that crown Hong Kong's nighttime skyline. Even the tenuous invocation of enregistered emplacement, however, is not a coincidence but a form of ongoing entanglement—one in which indexicality breaks down into iconicity, as McDonald's the brand cites not the physical metonym of the American film industry, but rather a global ‘aesthetics of brandedness’ (Nakassis Reference Nakassis2016:81) that is collocated with that very metonym. Such citations, we argue, are diffuse: the citation of the source of emanation is not necessarily conscious nor explicit, yet through the select application of enregistered semiotic features, an interdiscursive relation with the symbolic value of a source event is nonetheless established. To put it otherwise, HOLLYWOOD ‘does not have to exist, to exist’. I welcome constructive criticism but I've been in too many bands that couldn't make their minds up about things, or where people have said 'OK, I'll play it' without believing in it, which is even worse. If you ain't got a vibe for something, you shouldn't be playing it." The sign did, however, begin with an outsized splash. Conceived as a billboard advertisement for a 1923 real estate development called ‘Hollywoodland’, the sign's letters—even larger than today's, costing the equivalent of a quarter-million US dollars—were lit by 4,000 twenty-watt bulbs, which in four separate bursts flashed ‘HOLLY’ – ‘WOOD’ – ‘LAND’ – ‘HOLLYWOODLAND’. Yet the first indication of the sign's future enregisterment came not with the billboard's cinematic grandiosity, but with the 1932 suicide of the actor Peg Entwistle, who allegedly jumped from the top of the ‘H’ to her death. The suicide and its subsequent reportage marked an initial, if grim, ‘symbolic’ perception of the sign (Braudy Reference Braudy2011:96) and the inaugural event in a ‘semiotic chain’ (Agha Reference Agha2006:205) of linked events through which the sign's enregistered meaning continues to circulate today ( Figure 5b). The suicide availed the sign's potential for mediatization (Agha Reference Agha2011) as a news spectacle of Hollywood-worthy drama, and—with morbid fascination trained on the ‘H’—drew attention to the sign's materiality as a potential semiotic repertoire.